"Who Murdered Yitzhak Rabin?" Chapter 9 (Part 2) "The Kempler Film"
"WHO MURDERED YITZHAK RABIN?"
Chapter Nine (Part Two): "The Kempler Film"
R&B Editor's Notes:
"Who Murdered Yitzhak Rabin?": The Root & Branch Information Services is serializing the book Who Murdered Yitzhak Rabin?, by Mr. Barry Chamish, with permission of the author, to commemorate the eleventh anniversary of the assassination of Yitzhak Rabin (November 4, 1995 -- November 4, 2006).
The Bible Says:
"How is the faithful city [Jerusalem] become a harlot. She that was full of justice, righteousness lodged in her, but now murderers. Your silver is become dross, your wine is mixed with water. Your princes are rebellious and companions of thieves; every one loves bribes, and follows after rewards; they judge not the fatherless, neither does the cause of the widow come to them.
Therefore, says the Lord, the Lord of hosts, the Mighty One of Israel: Ah, I will ease Me of My adversaries, and avenge Me of My enemies; and I will turn My hand upon you, and purge away your dross as with lye, and will take away all your allow; and I will restore your judges as at the first, and your counsellors as at the beginning; afterward you [Jerusalem] shall be called the city of righteousness, the faithful city. Zion shall be redeemed with justice, and they who return of her with righteousness.
But the destruction of the transgressors and the sinners shall be together, and they who forsake the Lord shall be consumed. For they shall be ashamed of the terebinths which you have desired, and you shall be confounded for the garden that you have chosen. For you shall be as a terebinth whose leaf fades, and as a garden that has no water. And the strong shall be as tow, and his work as a spark, and they shall both burn together, and none shall quench them".
[Yeshayahu/Isaiah 1:21-31]
YERUSHALIYIM, Israelite Tribal Territories of Judah and Benjamin, Kingdom of David and Solomon, United Israelite Kingdom of Judah and Joseph, Twentieth Day, Tenth Month ("Tevet"), 5767; Yom Revi'i (Fourth Day of Week/"Wednes"-day, January 10, 2007), 2006), Root & Branch Information Services
Chapter Nine (Part Two): "The Kempler Film"
The Kempler film reveals that the whole story is utter hogwash. A famous photo of Rabin being shoved into the car shows up on the film as a flash. At that point, we know Rubin, injured arm and all, is not on the ground, rather he is on his feet holding Rabin. There are 24 frames/second in video film, so timing events is simple.
From the time of the second shot to the fash, 4.6 seconds pass. Try repeating, "Yitzhak can you hear me, just me and no one else, gddamit" three times in 4.6 seconds. Then add the hiatus, a hiatus long enough for a man being shot to decide it is safe to get up, and think to yourself, "A defect in the weapon". Try all that for 4.6 seconds. Rubin's timing is simply impossible.
Further, Rubin is not filmed on top of Rabin until all shots are fired, and Rabin does not jump into the car. The photo of Rubin pulling Rabin into the car disproves that even without the added proof of the Kempler film, Rubin's testimony, to put it mildly, is not born out by the Kempler film.
Now comes the piece de resistance, the most haunting moment of the tape. Two seconds before Rabin is placed in the car, the opposite back passenger door slams shut. This segment has been examined and tested by numerous journalists, every shadow on the screen traced, every possible explanation exhausted and in the end it has withstood all scrutiny. Someone, an unknown fourth person, possibly the murderer, was waiting inside the car for Rabin.
When I show this segment to audiences, inevitably I am asked, "Why did they make this film if it is so incriminating?" I reply, "The film convinced the whole country that Amir murdered Rabin. People always say, 'But I saw him do it with my own eyes'. That is what the film was supposed to do. But the conspirators were so sloppy, they left in the truth. Either they did not notice it, or they thought no one else would".
So why did Yigal Amir's attorneys not tear Kempler to bits on the stand or use the film to its maximum advantage? Truth be told, Amir's attorneys either were not interested enough in his welfare, were not properly prepared or were not talented enough to challenge the kangaroo court head on. Take a look at how they handled the issue of the unexplainable closing door:
Defense: "After the event, the back right door of the car was also open".
************
Kempler: "I filmed what I filmed".
************
The end. No follow up. It is not that the defense did not have plenty of ammunition. On the night his film was shown on Channel Two in December, 1995, Kempler was interviewed by commentator Rafi Reshef. The fast talking, nervous Kempler was most unbelievable, as the following segments show:
Reshef: "Why did you wait so long to release the film to the public?"
************
Kempler: "A few reasons. I did not want to be known. Also, I thought it was forbidden to show the film so soon after the murder. The public needed time to digest it as a historic film...But after the Shamgar Commission got it, I kept hearing on the street that I am the sucker of the country. That really aggravated me, so I got a lawyer and decided to make some money selling it".
************
How altruistic! What Kempler forgets to mention is that he did not tell anyone he had filmed the assassination until two weeks later when supposedly he woke up to what he had and sent the Shamgar Commission a registered letter informing them. In the meantime, he was withholding vital evidence form the police.
************
Reshef: "Did anyone observe you filming?"
************
Kempler: "Yes, the bodygua...I'm sure I saw (singer) Aviv Gefen look right into my camera".
************
Kempler almost let slip that the bodyguards were watching him film. Indeed, this is apparent on the film itself when, just before the Peres cut, one of the bodyguards turns back and looks directly up to him. But Kempler thought the better of it and switched to a nonsensical fantasy involving a pop singer.
************
Reshef: "Why did you concentrate so much on the killer?"
************
Kempler: "I felt there was something suspicious about him. I let my imagination run away with me and felt murder in the air. It wasn't so strong when Peres was there but when Rabin appeared, WOW".
************
Kempler felt there was an assassination in the air and suspected Amir could be the assassin. This was truly a parapsychological feat but lucky it happened or he would not have bothered focusing on Amir. Lucky he just happened to be the only cameraman on the balcony overlooking the murder scene. Luckily, it was so dark at the murder scene few amateur cameras could have captured the act.
************
Reshef: "There has been much speculation why you happened to be the only one in the right place to film the assassination. How do you explain it?"
************
Kempler: "I felt someone caused me to be in that place".
************
Reshef: "What, are you a fatalist?"
************
Nope, a mystic, as we shall soon see.
************
Reshef: "Did anyone try to interfere with you?"
************
Kempler: "There were undercover officers around. One told me it was alright to film but I had to stop when Rabin appeared".
************
Now compare the next version of events with what Kempler testified to at Amir's trial.
************
Kempler: "An undercover policeman came up to me and asked me a few questions and asked to see my I.D. I showed it to him and he walked away. He stopped, turned back and shouted, 'What did you say your name was?' I shouted it back. He said, 'Good'. And that was that. The police had all the details of my identity".
************
So why did the police not call that night to get the film? What is described is a very friendly encounter, indeed. Here is how the incident was transformed for Amir's trial.
************
Kempler: "There was an undercover cop who told me not to film. I told him he had no right to tell me not to film. I asked him if something secret was going on. I told him again he has no right to tell me not to film. And if he does it again, I would take down his particulars and issue a complaint to the police".
************
A rather drastically altered situation. Someone thought that Kempler's explanation to Reshef about why he was permitted to film in such a sensitive security location was too weak, so he painted a new, tougher picture. An updated version of his previous explanation about why he focused in on Amir painted a much goofier portrait.
************
Kempler: "When I stood on the balcony, I spent a lot of time in the dark; and, to my regret, my imagination began to work overtime. I began to imagine many things, even G-d forbid, a political assassination...I have no explanation why I had this feeling. I'm not sure it wasn't something mystic".
************
And because of this mysticism, Kempler felt...
************
Kempler: The defendant stood out. I don't know what he did...but I recall he stood out. I can't recall anything other than what I filmed".
************
Kempler could not "recall anything other than what I filmed" because at the beginning of his testimony he says the film shown to the public "contained no changes or alterations". By the end, he admits, "There are gaps and there are differences".
Why the change of heart? Because Amir's attorneys pointed out some very suspicious contradictions in the film.
************
Defense: "We don't hear everything in the film but we hear lots, including shouts. So why don't we hear the shouts of 'They're blanks'?"
************
Kempler: "Don't ask me. I'm not the address".
************
Defense: "Yoram Rubin testified that he fell on Rabin. Why don't we see that in the film?"
************
Kempler: "I'm not a video or camera expert. I'm not the address for questions like that".
************
The address, of course, is the technical department of the Shabak (G.S.S./General Security Services), where the film was altered during the time Kempler decided not to turn it over to the police or sell it. This was not a skilled technical department. While the film was being edited and altered, Yigal Amir was filmed a second time, during his reconstruction of the murder 13 days after the event. This reconstruction at the crime scene deeply compromised the validity of the Kempler film.
The first error made was enormous and was pointed out to me later by a man, who claimed he was the first to report it to the press. In the reconstruction film, Amir shoots with his right hand, as numerous eyewitnesses saw him do. In the still of the Kempler film released initially exclusively to the newspaper, Yediot Ahronot, Amir is shooting with his left hand.
That is not all. In the reconstruction film, Amir has bushy unshaped sideburns past the middle of his ear. The shooter in the Kempler photo still has squared sideburns at the top of his ear. Another person was superimposed over Yigal Amir for the still and there may be one possible reason why. The superimposed figure's arm looks longer, thus reducing the range of the shot, a necessity to be explained shortly. This is just one possibility. There are others, so far, less convincing. Nonetheless, for whatever reason, Amir's image was almost certainly removed from the Kempler film still and replaced by another.
The reconstructions belied the Kempler film in other ways, as reluctantly testified to by Lieutenant Arieh Silberman, Amir's chief investigator, at the defendant's trial.
************
Defense: "Did you notice the differences between the video shown on Channel Two and the film of the reconstruction? Did you see the reconstruction film?"
************
Silberman: "I saw the reconstruction. It was of the same event in principle but there was an obvious difference. You can see the difference".
************
Defense: "You're responsible for the defendant's investigation. Why is there a difference between the reconstruction film and the video shown on Channel Two?"
************
Silberman: "To my eyes, the difference isn't significant. The defendant doesn't think so. He never brought it up. I wasn't at the reconstruction".
************
Defense: "Why is there a break when we don't hear part of the audio?"
************
Silberman: "I didn't make the film. It was handled by the technicians of several units. I'm responsible for investigating the defendant, not the film".
************
Defense: (Amir now acts as his own attorney) "Is there a difference between the original film and what was shown on Channel Two?"
************
Silberman: "Could be".
************
Defense: (Amir) "What's the most outstanding difference?"
************
Silberman: "The position of the prime minister".
************
Defense: (Amir) "In the reconstruction, I go straight toward him".
************
Silberman: "True".
************
Defense: (Amir) "And in the original video, I took a roundabout route".
************
Silberman: "According to what I saw, you circled someone before getting behind Rabin".
************
Amir reconstructed his alleged crime wrongly according to the Kempler film. He shot with the wrong hand according to the still of the Kempler film If Amir's attorneys had bothered to press the issue, they might have been able to construct a plausible argument that he was not even at the scene of the crime, according to the Kempler film.
[To Be Continued. Next installment, Chapter Ten, "The Plot Begins to Unravel"]
Shabbat Shalom from Modi'in,
Mr. Barry Chamish
www.thebarrychamishwebsite.com
*************************
Yitzhak Rabin was sacrificed by the Israeli oligarchy for their German-Jesuit masters intent on occupying Jerusalem.
Shimon Peres Came to Power Over Rabin's Dead Body
Vatican Linked to the Assassination of Yitzhak Rabin
Chapter Nine (Part Two): "The Kempler Film"
R&B Editor's Notes:
"Who Murdered Yitzhak Rabin?": The Root & Branch Information Services is serializing the book Who Murdered Yitzhak Rabin?, by Mr. Barry Chamish, with permission of the author, to commemorate the eleventh anniversary of the assassination of Yitzhak Rabin (November 4, 1995 -- November 4, 2006).
The Bible Says:
"How is the faithful city [Jerusalem] become a harlot. She that was full of justice, righteousness lodged in her, but now murderers. Your silver is become dross, your wine is mixed with water. Your princes are rebellious and companions of thieves; every one loves bribes, and follows after rewards; they judge not the fatherless, neither does the cause of the widow come to them.
Therefore, says the Lord, the Lord of hosts, the Mighty One of Israel: Ah, I will ease Me of My adversaries, and avenge Me of My enemies; and I will turn My hand upon you, and purge away your dross as with lye, and will take away all your allow; and I will restore your judges as at the first, and your counsellors as at the beginning; afterward you [Jerusalem] shall be called the city of righteousness, the faithful city. Zion shall be redeemed with justice, and they who return of her with righteousness.
But the destruction of the transgressors and the sinners shall be together, and they who forsake the Lord shall be consumed. For they shall be ashamed of the terebinths which you have desired, and you shall be confounded for the garden that you have chosen. For you shall be as a terebinth whose leaf fades, and as a garden that has no water. And the strong shall be as tow, and his work as a spark, and they shall both burn together, and none shall quench them".
[Yeshayahu/Isaiah 1:21-31]
YERUSHALIYIM, Israelite Tribal Territories of Judah and Benjamin, Kingdom of David and Solomon, United Israelite Kingdom of Judah and Joseph, Twentieth Day, Tenth Month ("Tevet"), 5767; Yom Revi'i (Fourth Day of Week/"Wednes"-day, January 10, 2007), 2006), Root & Branch Information Services
Chapter Nine (Part Two): "The Kempler Film"
The Kempler film reveals that the whole story is utter hogwash. A famous photo of Rabin being shoved into the car shows up on the film as a flash. At that point, we know Rubin, injured arm and all, is not on the ground, rather he is on his feet holding Rabin. There are 24 frames/second in video film, so timing events is simple.
From the time of the second shot to the fash, 4.6 seconds pass. Try repeating, "Yitzhak can you hear me, just me and no one else, gddamit" three times in 4.6 seconds. Then add the hiatus, a hiatus long enough for a man being shot to decide it is safe to get up, and think to yourself, "A defect in the weapon". Try all that for 4.6 seconds. Rubin's timing is simply impossible.
Further, Rubin is not filmed on top of Rabin until all shots are fired, and Rabin does not jump into the car. The photo of Rubin pulling Rabin into the car disproves that even without the added proof of the Kempler film, Rubin's testimony, to put it mildly, is not born out by the Kempler film.
Now comes the piece de resistance, the most haunting moment of the tape. Two seconds before Rabin is placed in the car, the opposite back passenger door slams shut. This segment has been examined and tested by numerous journalists, every shadow on the screen traced, every possible explanation exhausted and in the end it has withstood all scrutiny. Someone, an unknown fourth person, possibly the murderer, was waiting inside the car for Rabin.
When I show this segment to audiences, inevitably I am asked, "Why did they make this film if it is so incriminating?" I reply, "The film convinced the whole country that Amir murdered Rabin. People always say, 'But I saw him do it with my own eyes'. That is what the film was supposed to do. But the conspirators were so sloppy, they left in the truth. Either they did not notice it, or they thought no one else would".
So why did Yigal Amir's attorneys not tear Kempler to bits on the stand or use the film to its maximum advantage? Truth be told, Amir's attorneys either were not interested enough in his welfare, were not properly prepared or were not talented enough to challenge the kangaroo court head on. Take a look at how they handled the issue of the unexplainable closing door:
Defense: "After the event, the back right door of the car was also open".
************
Kempler: "I filmed what I filmed".
************
The end. No follow up. It is not that the defense did not have plenty of ammunition. On the night his film was shown on Channel Two in December, 1995, Kempler was interviewed by commentator Rafi Reshef. The fast talking, nervous Kempler was most unbelievable, as the following segments show:
Reshef: "Why did you wait so long to release the film to the public?"
************
Kempler: "A few reasons. I did not want to be known. Also, I thought it was forbidden to show the film so soon after the murder. The public needed time to digest it as a historic film...But after the Shamgar Commission got it, I kept hearing on the street that I am the sucker of the country. That really aggravated me, so I got a lawyer and decided to make some money selling it".
************
How altruistic! What Kempler forgets to mention is that he did not tell anyone he had filmed the assassination until two weeks later when supposedly he woke up to what he had and sent the Shamgar Commission a registered letter informing them. In the meantime, he was withholding vital evidence form the police.
************
Reshef: "Did anyone observe you filming?"
************
Kempler: "Yes, the bodygua...I'm sure I saw (singer) Aviv Gefen look right into my camera".
************
Kempler almost let slip that the bodyguards were watching him film. Indeed, this is apparent on the film itself when, just before the Peres cut, one of the bodyguards turns back and looks directly up to him. But Kempler thought the better of it and switched to a nonsensical fantasy involving a pop singer.
************
Reshef: "Why did you concentrate so much on the killer?"
************
Kempler: "I felt there was something suspicious about him. I let my imagination run away with me and felt murder in the air. It wasn't so strong when Peres was there but when Rabin appeared, WOW".
************
Kempler felt there was an assassination in the air and suspected Amir could be the assassin. This was truly a parapsychological feat but lucky it happened or he would not have bothered focusing on Amir. Lucky he just happened to be the only cameraman on the balcony overlooking the murder scene. Luckily, it was so dark at the murder scene few amateur cameras could have captured the act.
************
Reshef: "There has been much speculation why you happened to be the only one in the right place to film the assassination. How do you explain it?"
************
Kempler: "I felt someone caused me to be in that place".
************
Reshef: "What, are you a fatalist?"
************
Nope, a mystic, as we shall soon see.
************
Reshef: "Did anyone try to interfere with you?"
************
Kempler: "There were undercover officers around. One told me it was alright to film but I had to stop when Rabin appeared".
************
Now compare the next version of events with what Kempler testified to at Amir's trial.
************
Kempler: "An undercover policeman came up to me and asked me a few questions and asked to see my I.D. I showed it to him and he walked away. He stopped, turned back and shouted, 'What did you say your name was?' I shouted it back. He said, 'Good'. And that was that. The police had all the details of my identity".
************
So why did the police not call that night to get the film? What is described is a very friendly encounter, indeed. Here is how the incident was transformed for Amir's trial.
************
Kempler: "There was an undercover cop who told me not to film. I told him he had no right to tell me not to film. I asked him if something secret was going on. I told him again he has no right to tell me not to film. And if he does it again, I would take down his particulars and issue a complaint to the police".
************
A rather drastically altered situation. Someone thought that Kempler's explanation to Reshef about why he was permitted to film in such a sensitive security location was too weak, so he painted a new, tougher picture. An updated version of his previous explanation about why he focused in on Amir painted a much goofier portrait.
************
Kempler: "When I stood on the balcony, I spent a lot of time in the dark; and, to my regret, my imagination began to work overtime. I began to imagine many things, even G-d forbid, a political assassination...I have no explanation why I had this feeling. I'm not sure it wasn't something mystic".
************
And because of this mysticism, Kempler felt...
************
Kempler: The defendant stood out. I don't know what he did...but I recall he stood out. I can't recall anything other than what I filmed".
************
Kempler could not "recall anything other than what I filmed" because at the beginning of his testimony he says the film shown to the public "contained no changes or alterations". By the end, he admits, "There are gaps and there are differences".
Why the change of heart? Because Amir's attorneys pointed out some very suspicious contradictions in the film.
************
Defense: "We don't hear everything in the film but we hear lots, including shouts. So why don't we hear the shouts of 'They're blanks'?"
************
Kempler: "Don't ask me. I'm not the address".
************
Defense: "Yoram Rubin testified that he fell on Rabin. Why don't we see that in the film?"
************
Kempler: "I'm not a video or camera expert. I'm not the address for questions like that".
************
The address, of course, is the technical department of the Shabak (G.S.S./General Security Services), where the film was altered during the time Kempler decided not to turn it over to the police or sell it. This was not a skilled technical department. While the film was being edited and altered, Yigal Amir was filmed a second time, during his reconstruction of the murder 13 days after the event. This reconstruction at the crime scene deeply compromised the validity of the Kempler film.
The first error made was enormous and was pointed out to me later by a man, who claimed he was the first to report it to the press. In the reconstruction film, Amir shoots with his right hand, as numerous eyewitnesses saw him do. In the still of the Kempler film released initially exclusively to the newspaper, Yediot Ahronot, Amir is shooting with his left hand.
That is not all. In the reconstruction film, Amir has bushy unshaped sideburns past the middle of his ear. The shooter in the Kempler photo still has squared sideburns at the top of his ear. Another person was superimposed over Yigal Amir for the still and there may be one possible reason why. The superimposed figure's arm looks longer, thus reducing the range of the shot, a necessity to be explained shortly. This is just one possibility. There are others, so far, less convincing. Nonetheless, for whatever reason, Amir's image was almost certainly removed from the Kempler film still and replaced by another.
The reconstructions belied the Kempler film in other ways, as reluctantly testified to by Lieutenant Arieh Silberman, Amir's chief investigator, at the defendant's trial.
************
Defense: "Did you notice the differences between the video shown on Channel Two and the film of the reconstruction? Did you see the reconstruction film?"
************
Silberman: "I saw the reconstruction. It was of the same event in principle but there was an obvious difference. You can see the difference".
************
Defense: "You're responsible for the defendant's investigation. Why is there a difference between the reconstruction film and the video shown on Channel Two?"
************
Silberman: "To my eyes, the difference isn't significant. The defendant doesn't think so. He never brought it up. I wasn't at the reconstruction".
************
Defense: "Why is there a break when we don't hear part of the audio?"
************
Silberman: "I didn't make the film. It was handled by the technicians of several units. I'm responsible for investigating the defendant, not the film".
************
Defense: (Amir now acts as his own attorney) "Is there a difference between the original film and what was shown on Channel Two?"
************
Silberman: "Could be".
************
Defense: (Amir) "What's the most outstanding difference?"
************
Silberman: "The position of the prime minister".
************
Defense: (Amir) "In the reconstruction, I go straight toward him".
************
Silberman: "True".
************
Defense: (Amir) "And in the original video, I took a roundabout route".
************
Silberman: "According to what I saw, you circled someone before getting behind Rabin".
************
Amir reconstructed his alleged crime wrongly according to the Kempler film. He shot with the wrong hand according to the still of the Kempler film If Amir's attorneys had bothered to press the issue, they might have been able to construct a plausible argument that he was not even at the scene of the crime, according to the Kempler film.
[To Be Continued. Next installment, Chapter Ten, "The Plot Begins to Unravel"]
Shabbat Shalom from Modi'in,
Mr. Barry Chamish
www.thebarrychamishwebsite.com
*************************
Yitzhak Rabin was sacrificed by the Israeli oligarchy for their German-Jesuit masters intent on occupying Jerusalem.
Shimon Peres Came to Power Over Rabin's Dead Body
Vatican Linked to the Assassination of Yitzhak Rabin
posted by David Ben-Ariel at 10:02 AM
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